Upon re-watching Sleeping Beauty recently I was fascinated to realise that the three fairies are pretty much the main characters 🙂
Obviously they’re not the only characters, but they probably have the most screentime for one and they also take many of the important risks. Flora, Fauna and Merryweather also devise all the plans, in addition to providing the only good comic relief while at the same time being responsible for saving everyone around them!
Of course Auroa and Phillpip have nice singing voices but I think for a lot of people Maleficent stands out most in terms of character – she’s a pretty superb villain, capable of true cruelty, and her colour scheme of green, purple and black is unnerving too.
Visually, I was enthralled.
It wasn’t just the tremendous dragon/forest of thorns scene, but elsewhere too, the art and backgrounds for Sleeping Beauty are amazing – the detail on the bark upon the trees alone is just so great!
The whole forest, really – especially with those distinctive shapes and textures, but many of the castle scenes stood out too. I really liked the illusion of depth there, via that amazing multi-plane camera set up Disney was known for.
However, I was interested to hear something quite dull from director Geronimi – who I believe was unhappy with the art direction and backgrounds by Eyvind Earle, feeling that no-one would even look backgrounds. What a fool, huh? 😀
Sure, I doubt kids of the day would have cared that much but I would like to think that surely, one part of why Sleeping Beauty has endured over other Disney films has to be the art, because I don’t think the film stands above several other Disney titles around due to its storytelling, which I thought was pretty uneven.
On that claim, there’s a bit too much time spent on what I’d call filler, I guess – my favourite example being the two kings in that endless scene where they discuss and agree to things which have already been agreed to.
Even so, I’m really glad I watched this again because if I hadn’t, I would have missed out on some amazing stuff, especially the work of Eyvind Earle.
4 Stars (one of which is probably for the art alone)
I watched Children of the Sea a little while ago, and afterwards I stuck with the aquatic-theme for a couple more films. One of those movies was Ride Your Wave* while the other was obviously Weathering With You, which I’ll write about now 😀
I’m also going to kick off the post with something different compared to my usual review structure, and share this from director Makoto Shinkai:
“I thought, ‘Should I make my next film so that I don’t anger more people, or should I make a movie that angers them further?’ And I chose the latter.”
Here, he’s talking about Weathering with You as per a quote that appears in this Variety article, and I was really interested in the context around that statement… but I’ll actually come back to it later. I guess I’m raising it now to frame the idea that Weathering with You is maybe more reactionary than a lot of his previous work – and that’s probably not a surprise, considering the enormous success of Your Name.
If you haven’t come across Weathering with You yet, it’s a teen drama/romance-fantasy told in a wonderfully ‘saturated’ way, and I didn’t really mean for that to be a pun.
I guess what I mean is that Shinkai’s fascination with and also his devotion to water, light and colour certainly continues: everything looks so beautiful, whether it’s CGI or traditional animation. In fact, you could argue that it’s crushingly beautiful, and the detail – the atmosphere, the way you really sink into the setting, it’s all quite dream-like in a way.
[Spoilers from here on] For me, the visual elements are enough to compensate for what seemed like a slightly less cohesive story overall. Something about it didn’t quite pull together as neatly as say, Your Name (or his older films) and I wonder if I needed just a few more scraps of info re: what main character Hodaka was running from, for one. Feeling suffocated by a place – I buy that 100%, but maybe just a little more on specifics at home?
I also craved some extra follow-up on a few threads by the end and I’m not sure Hina turning her back on all technology for three years feels right? Related, would Hodaka not have attempted to contact her in some way (and vice-a-versa)?
Apologies, but I’m going to jump around again as I want to mention some other things that I enjoyed, before eventually circling back to Shinkai’s quote.
Firstly, I thought it was fun to see Mitsuha and Taki from Your Name – they don’t show up in flashy, attention-grabbing cameos, it’s far more low-key and maybe somewhat connected to the Variety quote above.
Suga and Natsumi were actually my fav characters in Weathering with You, especially Natsumi and her motorcycle, but in contrast, one of the more serious moments I enjoyed was when poor Hodaka is making his earnest promises in the hotel. Moments like that in the film, when you’re young and your conviction is stronger than your ability to make things happen, I thought were nicely done.
For some reason I’ve ended up reviewing Weathering with You before Your Name. And while the order of reviews hardly matters, I think it’s hard not to compare Weathering with You to his older work – either as a progression or a reaction.
I’ll try to expand on that – when I think about colour and tone here, it seems there’s a growing warmth clear to Weathering with You and Your Name, especially visible in the extra moments of levity and hope that I see onscreen, but which don’t appear as often in prior works perhaps.
For instance, The Garden of Words and The Place Promised in Our Early Days are obviously still beautifully coloured, but they feel more melancholy overall. (And certainly Children Who Chase Lost Voices strikes me so).
…or maybe I’m remembering the colours wrong?
In any event, I’m finally getting closer to that quote (I promise) with a note about the ending first. Here’s a quick summation of the film’s conclusion:
After Hina chooses to sacrifice herself in order to save Tokyo from drowning, Hodaka fights his way above the clouds to see her, eventually bringing her home. With her return comes rain that, over the next three years, displaces millions (maybe kills folks too?), and changes the entire city. Hina seems to have been praying, trying to stop it – maybe the whole time – whereas Hodaka reflects that change is inevitable. After this, the two get a personally uplifting reunion.
Now, what I haven’t been able to decide is whether the ending is nudging us toward letting him off the hook re: taking responsibility for changes to the city and all the displaced people? Because there is a bit of time spent on that reflection, time that I took as Hodaka justifying his choice to himself (and maybe us too) via words that others had offered.
Obviously, it’s not so simple – because Hina deserves life too; and it’s a rotten choice he’s faced with.
Doubtless we’re meant to tackle the theme and decide for ourselves, what should Hodaka have done? (Even Suga goes back on his bitter wish).
And perhaps, if real life is about meeting challenges (and not being able to ‘magic’ them all away) then does the ending constitute a bit of authorial messaging? I think it’s clear that Shinkai wanted to bring attention to rising sea levels, and so what seems like a sad ending is probably the only way Weathering with You could have concluded.
So, thinking of Shinkai’s quote and his desire to anger people again – I wonder if this overt message at the end is two things: a sincere concern about climate change, but also a reaction to some criticism aimed at Your Name, where folks** didn’t like the idea of a natural disaster used for entertainment?
Because here is an even bigger natural disaster that is also used in the plot of a teen romance, and maybe within that choice, there’s some hope that in such a popular film, a lot of people will pay attention to the problem being raised… almost like a gauntlet being thrown down?
Ultimately, I hate to drift too far toward autobiographical criticism, nor assign motive to someone else’s work, but in this case I feel like there’s room – especially with that quote and having a little bit of context around Your Name.
TheVision of Escaflowne (Tenkū no Esukafurōne) 1996
I want to quickly preface my [spoilery] review today with a link to a post from ThatRandomEditor, Where are the Shoujo Anime? which I think is a great question, because for me, I don’t think I’ve really seen an action-kinda shoujo for one, in a fair while (or maybe I missed them?)
The Vision of Escaflowne is a classic and one of my favs, which ultimately suggests to me that I should probably spend a lot more time on the review, but I think I generally ramble on long enough as it is.
Firstly, I think portal fantasy is probably still holding onto a recent ‘boom’ right now, but if you’ve already seen all the new isekai out there and still want more, then look no further! Even more so if you’re also craving shoujo, because The Vision of Escaflowne will meet both of those needs nicely.
The same goes for the bishonen character design, and while I always appreciate the 1990s and characters with visible noses, the slight Pinocchio-feel took a bit of getting used to at first. Elsewhere, there’s a focus on graceful lines, and not just due to our winged heroes or the knight-like mech, and I’d argue that none of it comes at the cost of variety either.
That diversity is also featured in the range of new lands and peoples that Hitomi must navigate, aided often by Van or Allen (who tend to do most of the heavy lifting when it comes to Dornkirk and his plans for world domination). But Hitomi is no flailing damsel either, and her visions and her speed as a member of the track team save the day more than once. I enjoyed the Tarot as well, which I hadn’t realised was quite popular with girls in Japan at the time, according to my Blu-Ray’s special features.
And perhaps the audience is firmly meant to be shoujo, but I read that there were twin manga produced, one with more shounen conventions and the other more like the anime, which does have its share of a complex love triangles. In a way things seem ‘softer’ on the surface, with plenty of glistening eyes etc but The Vision of Escaflowne doesn’t shy away from heartbreak and repressed, unfulfilled desires either.
In addition to those romantic elements there are enough battles and duels to satisfy action fans too, I reckon. It’s an at times grim world with an interesting mix of fantasy and science fiction clear in the settings and characters. Having said that, the Dilandu encounters for one, became a bit repetitive for me. I found myself keen for Van to finish him off more than a few times, but having the invisibility aspect certainly kept suspense high, which I loved.
Okay, so I can’t wrap things up here without exploring some criticism, and while there were a few things that struck me, I’ll mention two below:
Sisters Eriya and Nariya – there’s a scene that I wasn’t sure how to read, especially in the way it was shot. Was it just meant to be run of the mill fan-service? Sapphic? Incestuous? I dunno, maybe I misread the scene but it never seemed to gel with their backstory or present storyline. Was it actually a missed opportunity to explore themes around sex and trauma?
And quickly now, by the end of the series I don’t know whether Folken actually earns his redemption arc for me, even if visually, one particular scene was fantastic.
Again, that could be a judgement call and I’m being a little hard on the guy but I dunno… He certainly helps our heroes out, but that whole mass-murderer thing keeps him firmly in the camp of villain, I reckon, even if he sees the light in time.
Nevertheless, The Vision of Escaflowne is an old favourite with a whole lot of stuff I loved, and one that I really enjoyed re-watching, but I can’t decide between 4 Stars and 5 Stars…
… actually, it probably should be 5, especially with that killer Yoko Kanno OST.
(And I’ve also finally finished my second A-Z title now!).
And there it is, the 150th review for the Review Heap!
(At least, I’m fairly sure it is – I counted, but may have missed a few, as it’s the 229th post but obviously not every post here is a review :D).
(I forgot to add – I usually take a lot of screenshots myself but this time my discs were playing up but I found a superb resource (qtpiecaps) which you can visit right here – it has a great list of shows available too.)
Kicking off this review with some useless trivia – I had actually arranged with my local cinema to maybe screen Children of the Sea back in January but the bushfires prevented that – and obviously, I didn’t want people to risk their lives on entertainment stuff at that point, but I was pretty excited to finally see the film last night.
And if I was rating Children of the Sea only on the visuals and animation, it’d be 5 stars no sweat, everything really is stunning.
However, the narrative lost enough of its momentum at one point, that I know I’ll end the review at 4 Stars. Does that matter? I mean, do star ratings (or even opinions) mean much? Not really – everyone has to decide whether they’ll watch something based on their own markers, but what I’m trying to say is that I loved the look of this movie, right down to the pencil-stroke aesthetic for the character faces.
I’m probably more familiar with earlier Studio 4°C works like Spriggan and Memories but I am now really looking forward to their next release, Poupelle of Chimney Town. However, to actually get back to Children of the Sea itself, I thought Ruka was a great leading character and I was quickly invested in her struggles, thanks to a clever opening. Umi is my second favourite of course, though the boundary-challenged Sora is kind of jerk 😀
Before a significant shift, and one that surprised me, the tone of the film strikes a balance between mystery, wonder and social isolation. It’s all brought together by the visuals, which are ultimately very realistic for most of the film, but can be more vividly presented, and even slightly magical.
I won’t share the premise or too much of the plot here, because while on the surface Children of the Sea still looks like an aquatic-themed fantasy adventure film (mixed in with some coming-of-age stuff) there are two genres that are perhaps more apt when I think about the film now, because the preview certainly gave me one impression…
But I think that magical realism is more accurate than a general fantasy tag – and if I say too much about why I believe that to be the case, I might inadvertently spoil stuff. To circle back to what I mentioned re: that shift in tone, there’s a point where the movie becomes extremely metaphysical and it was there that, while the visuals remain entrancing, the storyline stalled.
Again, in the end I didn’t mind so much, and I look forward to watching Children of the Sea for a second time one day, but be prepared to go beyond the realms of what you might have first expected, if you choose to watch this!
Before Hiromasa Yonebayashi became a founding member of Studio Ponoc, he was working at Ghibli on a lot of their blockbuster films. Arrietty was his debut as director, with a screenplay that Miyazaki adapted from The Borrowers. (Another example of his interest in storytelling from the UK).
This one is not in my top five Ghibli films, but I do prefer Arrietty to Yonebayashi’s other feature for the studio, When Marnie was There.
Ultimately, what keeps this one from climbing up the ranking in my mind, is the ending, which felt a little flat compared to the rest of the film… but I won’t try to claim that it’s a bad ending, because that’d be an exaggeration, I reckon.
What I loved most was the clear ‘world-within-a-world’ that existed in the film, with the borrowers having not only their own home and cast-off possessions, but that different perspective on human homes.
It’s a warm, intimate world where little is wasted and ‘simple’ tasks take on more epic dimensions – like that first quest for sugar. (Those scenes show the same beautiful attention to detail Ghibli is known for, mirrored in the natural world too, but for me I think of the house most whenever I remember Arrietty.)
I won’t ramble on much longer, but the tension between the Arriety and Sho’s storylines eventually meeting is great, and I always find it sad but sweet when he tries to switch the kitchen around. But of course – in the end, he cannot help Arrietty and her family, as the power of one small boy cannot fully stand up to the cruelty of the adult world.
Still, Arrietty isn’t a tragedy, so there’s an ultimately uplifting ending in store if you’ve never seen this one 🙂
Tokyo Babylon (Tokyo Babylon: A Save Tokyo City Story) 1992-1994
Hello! Today I’m hosting a collaboration with Curtis from Iridium Eye Reviews – our second, actually! We first reviewed Satoshi Kon’s Tokyo Godfathersand today we’re going into the supernatural and the occult with CLAMP’s Tokyo Babylon, which can be seen as a bit of a prequel to X but still stands alone.
Thanks again to Curtis for watching this with me and also for jumping around from topic to topic in the write up, as I seem to do 😀
Ashley: Curtis, I wanted to start perhaps in an odd place, with genre or even tone – and see where you thought the OVA landed? I found this note on wiki (wish I could get to the source actually):
Producer Yumiko Masujima remembers how difficult it was to recreate the manga’s atmosphere in the OVAs.
And I thought the episodes were highly atmospheric, strikingly so, but part of me feels that the comedic moments didn’t quite fit with the occult/supernatural, darker tone of the rest of each story. Of course, I’m not a fan of any single tone or mood being ‘unending’ in a work, I love variety, but I don’t know if the sillier moments brought levity or actually undercut the mood.
Curtis: I would’ve never guessed that about the Tokyo Babylon OVA. While I haven’t read the manga, I do think the mysterious atmosphere does show up quite frequently. You even have the darker color palettes going on with the character outfits and the backgrounds. Certainly lots of black and red coloration on so many things. The mix of Gothic and occultic aspects did work more often than not in the visual presentation.
I thought the sillier moments in the first episode seemed out of place like the random jokes, brief comedic facial expressions, or the scene where Seishiro tells Hokuto to go on a diet just seemed off to me. That was a tonal clash with the murders here. They do dial it back in the second episode, but there were also some random moments like Hokuto dressing up in a pink cat girl outfit and briefly meowing. I don’t need to see some prototype Tokyo Mew Mew stuff in Tokyo Babylon, please.
A: Yep, I haven’t read the manga either but I’m certainly curious. Especially to try to learn more about that tonal imbalance. I thought that Hokuto was meant to be a fashion designer, and maybe that helps explain the distinctive outfits for her and her brother, and given the production period I can see a lot of Michael Jackson in Subaru’s first episode outfit. In fact, the costuming really stood out for me – that distinctive CLAMP look with the huge, square shoulders etc
C: Of course. Not to get too ahead of myself, I can see why this particular OVA would be an attempt to get some readership for that CLAMP work. I wonder if those same readers stuck around for X when it came out later.
Okay, I can see that making sense with Hokuto. I didn’t even think about Michael Jackson with Subaru’s outfit in the first episode. Wow, I can’t un-see that. I wouldn’t be surprised if “Thriller” popped on if he was walking around. How appropriate since he does deal with the supernatural. Haha!
Those are typical of some of CLAMP’s darker works from what I’ve noticed such as xxxHolic, the aforementioned X, or some of their manga series such as Legal Drug to name a few.
A: Me too! And I don’t really remember seeing Subaru in X but I’ll have to rewatch it now 🙂
What struck you as a highlight or a strength across the episodes?
C: The atmosphere was certainly a strength. The second episode felt moreconsistent with the more serious tone. Since it’s Madhouse, they certainly deliver in the animation department. Sure, it’s not as impressive as a lot of their later works and has aged some, but it holds up as far as some of their early 90s projects are concerned. There were some creative elements in the fight scenes such as those bird spells, the dog spirit in the first episode, or Hokuto creating a magic circle on the ground with only using lipstick.
I thought a lot of the voice acting was good in the Japanese version. I was surprised to find out that Subaru was voiced by Kappei Yamaguchi of all people whom I didn’t recognize. He’s known for playing far more energetic characters such as Usopp from One Piece, Inu-Yasha, or Monta from Eyeshield 21 to name a few. The delivery of him being timid and overly polite to a fault was certainly against type compared to Yamaguchi’s other characters. Okay, there is a bit of a hilarious in hindsight aspect when you consider Subaru isn’t the only detective to be voiced by him with Shinichi “Jimmy” Kudo from Cased Closed/Detective Conan as well as L from Death Note. Most of the other characters had voices that worked for them even though I found Hokuto to be a bit shrill for my liking even if it made sense for her having comic relief moments. One of my favorite voice actors Takehito Koyasu shows up as Seishiro. Granted, he talked in a bit of a higher register than most characters he typically plays, but he had the right mix of having a deadpan sense of humor, being very calm, but also a sense of creepiness about him (the flashback at the beginning of the 2nd episode being a major example).
The usage of magic seemed to be grounded. The mix of Japanese paranormal elements was certainly fascinating as it’s infused with more Western magic. There were creative usages with the spirits, scrying, and the concept of post-cognition was quite unique. I did like a bit of the symbolism with the Sumeragi twins. Both of them are named after stars with Subaru being a reference to the star cluster of Pleiades (Notice how the car company of the same name has stars in their logo?). The symbolism of that part of the universe comes from a dual meaning in Greek words for sailing as well as a flock of doves. That’s brilliant because he uses white birds in some of his attacks and one can argue that he tries to sail through paranormal seas to make sense of anything when not many can. Hokuto’s name is the Japanese term for the North Star. Despite how wacky she can be, she is able to help encourage her twin brother and navigate him towards the right direction if he feels down or too hard on himself. That was a brilliant correlation with the twin siblings’ interactions with one another.
A: Agree on all of this, yeah – I really liked that detail with the lipstick too, it gave her a bit of extra dimension too, beyond shrill comic relief.
There was also some really dramatic (and effective) direction during the confrontation at the end of the first episode – and this big kinda ‘hero shot’ of Seishirō that I loved. In fact, reading up a little about his role in the manga/having now seen a key scene in episode two as well, it seems a touch menacing just as much as it suggests ‘avenging’ too.
I guess it all feeds into that atmosphere we’ve talked about – all those reds and black, and those stills in the opening to episode two seemed to be composed so well. And I missed the naming and mythology, awesome – love the idea of ‘guiding’ and with the twins’ relationship it seems spot on.
Related perhaps, the Tokyo Tower/Babylon and folly of the villain in episode one made me wonder about the production time, right around an economy burst in Japan, and so it seems fitting then to have a developer as the bad guy. And maybe I shouldn’t be surprised when that sort of thing repeats in modern times, both in fiction and real life.
C: Nice! I was worried that she would be just some filler character that’s just thereto take space, but it was great seeing her actually do something to aid others. Although to be fair, this is CLAMP being an all-female manga group, so I know they would never make Hokuto some useless character and they have a good track record with a lot of their heroines.
Definitely. Seishiro certainly had his big hero moments in both episodes. He certainly seems to be the most capable of the trio while also being the most dangerous which he lampshades when he fights against these criminals. I looked up a little bit about the character in the manga and in X, and it really gives another dynamic of why he does things as there are some ulterior motives.
No problem. It was something I wondered. I thought about the Subaru logo when seeing his name even though he’s not the only anime character with that name I’ve seen before (.Hack//Sign, anyone?). I heard of the name Hokuto because of Street Fighter EX, but I also realized afterwards that the anime Fist of the North Star’s Japanese name is “Hokuto no Ken”, so that made some sense with the star imagery with both twins.
That’s right. Several Asian countries did face a recession in the 90s, so that was fridge brilliance on the creators’ part. Given the current global economic situation, this makes the undertones even more resonating in hindsight especially since in America, the unemployment rate is equivalent to the Great Depression.
A: It’s like being hit from all sides right now, huh?
Anime can feel… maybe a touch frivolous at times, but on the other hand – I’ve really needed the distraction (maybe like most folks) over the last few months.
I’ll try to clumsily segue back toward where we’ve touched on the villain(s) of the OVA, which actually leads me to Seishiro again. I know we’ve already chatted about the flashback scene where he appears to be kinda grooming or at least starting off a pattern of manipulation with Subaru, but given the two episodes only reveal hints of this, I’m left feeling like I won’t get much of a resolution there. Obviously, I think you can still enjoy this OVA without taking the funnel into the manga, but that unfinished thread makes me wish more episodes were produced.
It’s a bit unfair of me perhaps to call that a ‘fault’, but I thought I’d ask what flaws or issues you found with Tokyo Babylon?
C: Yeah. History can really re-contextualize so many things in numerous arts. I’ve certainly noted how this happens in my other reviews with some things being better, different, or worse in hindsight.
I can definitely see that point. While I haven’t watched as much anime as I have recently, I did need to have some kind of escapism in between work and trying to stay informed of the current state of this world (COVID-19, the racial climate, US politics being an election year, etc.). Trust me, I really needed something like that lest I become irritable or paranoid. Okay, moving on…
That is certainly an issue with Seishiro since he has all of these subtle dynamics. Without getting any more context from the manga and/or X, I would have no idea why he has those kinds of interactions with Subaru. The unfinished aspect of the anime would be the biggest flaw and I’ve certainly noticed it with other OVAs of the 90s and 00s that felt like glorified trailers for the manga series they’re based on (Fight!! Spirit of the Sword, Angel Densetsu, and even the Battle Angel anime come to mind). Going back to Seishiro, I thought he had a habit of Tuxedo Masking the situation if that makes sense. Actually, it might be even more excessive than Mamoru’s/Darien’s alter-ego because he makes the final attack while Subaru is licking his wounds. This undercuts the main character and he should have at least made that coup de grace in at least one of the episodes. That was such bizarre characterization that did the medium no favors.
Besides the unfinished nature of the OVA or how Seishiro was portrayed, I had some issues with some of the audio and certain characters. I was not a fan of that insert song that was also the ending theme in episode one. It sounded like a really cheesy visual kei ballad that went nowhere and was chock-full of random English lyrics even by anime standards. I couldn’t take the schmaltzy nature of that song. While the main trio certainly have their own clearly-defined personalities, I had some trouble getting into some of the supporting characters. The detective felt generic to me even if he did have purpose in the plot. The villain in the second episode was way too shallow. Murdering people over a seat on a subway? That is one of the most petty things I’ve ever seen a villain do and it just made him way more cartoonish even if he was threatening.
There was also an unintentionally funny scene where he tells Mirei to run as he gives her a ten count before he chases her. Really? You’re going to rip off Shere Khan from The Jungle Book (yes, the Disney version)? The only thing that would’ve made this even more egregious would be if he told her that she’s “trying his patience” in the middle of said countdown. In addition to those things, this OVA felt like a case-of-the-week format, but never follows through because of the two episodes. Looks like I’ll have to watch the live-action sequel, read the manga, and watch X TV to find out everything that happens in that part of CLAMP’s universe.
A: Yes, great point about the villain from episode two – it felt incredibly flat, or at least a lapse in the characterization maybe, because the seat motivation spoke of zero rationality, like they were going for supremely ‘out of control’, but otherwise, there was time taken to show that he was quite functional.
To pivot back to something I really liked – Satoru Miyatake, who collected and catalogued stone and the attached memories, from building sites was fascinating. I really liked that idea and wished it could have been expanded somehow. It really fired my imagination though he was really just kinda plonked down into the storyline there in a way!
C: Thanks, Ashley. That episode’s villain felt like some generic and shallow “evil for evil’s sake” caricature. Killing people over a seat has to be one of the most superficial villain motivations I’ve ever seen. As much as the Joker can be chaotic (the severity of such depending on which iteration being shown), even some of his reasons go beyond “because he’s evil and/or insane”. Come to think of it, he did seem functional albeit extremely violent which hurts the narrative even more.
That was a great idea and I definitely agree with Satoru Miyatake. It gave a new dynamic that I’ve never seen before with the concept of scrying which really works in an occult detective context. That’s a superpower you don’t see too often even in a psychic or supernatural context. This could’ve been explored much more like finding out a character’s personality or past by what they own or that power being used to solve more crimes.
A: I love to see more of that too – actually, I’m re-watching The Vision of Escaflowne at the moment and the Tarot stuff gives me a slightly similar vibe. I miss that sort of thing in supernatural storytelling too!
So, I feel like I’m going to end up ‘shooting for the middle’ here with my rating – and say that I think 3 out of 5 stars suits how I feel about it. Worth a look but not essential for me, despite how much I enjoyed it for the most part.
C: Nice. It’s such a unique power and it would’ve been so perfect for Tokyo Babylon. Escaflowne is definitely one series I would like to see again. I still think it’s crazy how this got played on Fox Kids briefly alongside Digimon, Power Rangers, and X-Men reruns back in the day.
Using your rating system, I would give Tokyo Babylon a 2.5 stars. There were some good things in that anime which I don’t deny, but I thought it was average as a whole. I could see CLAMP fans digging this more than me especially if they know things about the manga, X, and/or Tsubasa: Reservoir Chronicle. Thank you so much for collaborating with me on another anime review!
Dragon Quest: Your Story (Doragon Kuesuto Yua Sutōrī) 2019
Being a fan of JRPGs, I found myself waiting quite keenly for the Switch edition of Dragon Quest XI and really enjoyed playing it last year.
Flash forward to now and I was happy to stumble across Your Story.
It’s a classic fantasy, adventure film that adapts the storyline from the fifth Dragon Quest game, blending action, humour and magic nicely to my eye. Again, I’m on record plenty of times as being wary of CGI and anime, but everything looked top-notch to me and perhaps I was less inclined to feel like it didn’t suit, because I associated everything here with the game visuals rather than 2D anime.
On that note, I’d argue that you can definitely watch this film without being familiar with the game series – and a point of interest for me was that the narrative spans a fair few years, and more than one generation as well, but does so in such a way that doesn’t make things feel disconnected either.
Quite thrilling for me, as a fan of DQXI, was hearing the game’s OST in the film, and each instance certainly fit the storyline. Also appearing in were the now-classic ‘slimes’ and other creatures – and though the usual look of other Akira Toriyama character designs didn’t appear in the same, distinctive way as in the games perhaps, they still worked for me.
I will just note that maybe, if you’ve played any of the games, you might get a few more references or easter-egg kinda things, but again, it should still be enjoyable for someone who isn’t necessarily a fan of the series too. (I certainly wouldn’t go so far as to say it’d be suitable for little kids… but it’s probably aimed somewhere between tweens and adults perhaps).
I swing back and forth on how much I enjoy the works of Yoshiaki Kawajiri (and Hideyuki Kikuchi) due to their tendency to drift into territory I’ll describe as crass at best.
Other times, the team-up creates things which are sinister and stylish from start to finish – with plenty of action to go along with the horror elements. Demon City Shinjuku mostly fits under this description for me.
And if you like the supernatural genre or films with great action sequences or with low-level lighting, stylised reds, pinks and blues for the palette of a city in endless night, and a city filled with mysterious characters and seemingly insurmountable odds for the hero(es) to tackle, then you’re in luck with Demon City Shinjuku.
To contrast, I’m certainly aware that some of the criticisms aimed at this film (and which can also be applied to many films and genres, especially fighting shonen) are certainly valid. Character development is not missing precisely, but the storyline is mostly built around getting the hero from one battle to another. And those battles tend to be exciting or surprising and are clearly so well directed, and thus the trade-off is definitely worthwhile for me.
On the other hand, Sayaka Rama doesn’t have much of a role beyond damsel (but she’s pretty brave, forging ahead in her high-vis pink dress) and so that issue with the characterisation being a little thin plays out elsewhere too. Again, I think there is a trade-off – which is the mystery behind a lot of figures (and the setting itself) especially for someone like Mephisto.
I also found it interesting to see the shinai from Kendo being the hero’s weapon of choice, which is something I think modern martial arts anime has maybe moved away from a little. As tends to be the case with me, I really enjoy Yoshiaki Kawajiri’s character designs – and even though his role is mostly confined to the prologue, the character of Genichirou strikes me as a cool mix between Clint Eastwood and Jet Black, or maybe he just has a 1970s vibe in general.
In terms of audience, I’ll mention that Demon City Shinjuku has far less sexualised violence compared to say, Wicked City or even Ninja Scroll, and the violence is somewhat more restrained too. I wonder if at this point in his career (right after Wicked City) there was an urge to make something (potentially) more commercial and suitable for distribution in the US, as Bloodlustperhaps was.
I missed The Weathering Continent back in the 1990s but I know it would have caught my eye if the film had actually had any chance of being screened in Australia – but then, at the time of the movie’s release I was probably watching Astro Boy re-runs (along with He-Man, She-Ra and Voltron).
And then, a few years later, by the mid-90s, it was all about Neon Genesis!
Still, I’m glad I’ve now seen The Weathering Continent because I know I’ll watch it again one day, since I enjoyed it so much.
It really walks the line between creepy and haunting so well, aided by a barren but not empty setting. The story follows three wanderers as they traverse a wasteland-like Atlantis, but it’s not a quest to discover ancient wonders – it’s more like a struggle to survive an ancient, cursed place.
I’m not sure I should try to categorise The Weathering Continent as ‘cult’ or ‘overlooked’ and I’m not coming up with a lot of info re: how it was received upon release, but I know it did have a theatrical run, though it’s not ‘feature length’ at 50-odd minutes. This anime is not something I suspect you’ll be able to stream easily, but I found a DVD via good old ebay, and it has a great, landscape sleeve:
Anyway, it was of course easy for me to learn that the film is an adaptation of a light novel series by Sei Takekawa (illustrations by Mutsumi Inomata) and that it was directed by Kōichi Mashimo. Mashimo’s name caught my eye because of Eat-Man and Noir, so it was interesting to see that same moodiness from the first Eat-Man here. However, unlike Noir the action is sparse in The Weathering Continent.
But when it occurs it certainly looks good – this is from Production IG before they changed their name, and character design stands out to me as well, obviously very 1990s. But above all, it is the city where the bulk of the story takes place that enthralled me, and yes the architecture and use of mostly sombre colours and detail is great, but the inhabitants themselves were what had me hooked, those masks and costumes!
I’ve had to fight the urge not to screen-cap the hell out of this one, because on the off-chance that you might want to see this film, I don’t want to spoil too much, yet I want to evoke enough to get you curious at least 😀
That’s probably enough rhapsodising from me, I think – basically, if you’re in the mood for a sword and sorcery anime that is also heavy on atmosphere (but a fairly light on plot), then this lesser-known film from Mashimo should satisfy.
Welcome to my 6th ‘Abandoned’ post and of course, my usual disclaimer that I might come back to these one day!
Ga-Rei: Zero (2008)
During my slump the other month (when I was having a lot of trouble finishing things) I started and abandoned various anime and Ga-Rei: Zero was one of them.
I’ve seen (or attempted) a fair few shows in the supernatural genre of late and this one had a few interesting things that I hadn’t seen heaps of times before, and visually I certainly had no complaints… but it made a classic storytelling ‘error’ as I see it.
I understand that the style of error I’m eventually going to mention is usually played as a twist but it had a secondary effect for me, which was to make me stop watching.
Basically, between episode 1 and episode 2, Ga-Rei: Zero changes the cast of characters completely. Suddenly, I had to meet a whole heap of new folks and do the work of finding reasons to care about them – and instead, I just didn’t and ended up moving on to a different show.
Maybe if I wasn’t in a slump I might have kept going… but I didn’t have the energy to watch (basically) two versions of Episode 1 back to back.
2. Ghost in the Shell: SAC 2045(2020)
Gave this a shot the other day but I couldn’t get on board with the visual style. Cool to hear original cast members back for the voices however 🙂
Ultimately, I didn’t see enough to have much of a response re: storyline or anything else about this series, and I could probably come back to this one day, just to see more and give myself a chance to form a real opinion. For now, it’s pushed down a bit on my list.
3. El Cazador de la Bruja (2009)
The ‘girls with guns’ sub-category is one of my favourites and the setting was great so I think I’ll give this a shot again one day for sure, but since I tried El Cazador during my slump, I wasn’t able to finish the first episode.
It felt like it was taking a bit too long to kick off and in a way, that’s probably not true, but again, mid-slump I was only able to finish things that immediately and deeply hooked me from the opening few minutes.